type

I'm looking for a good extended serif typeface to be used on a wine label. Here is an example of what I'm looking for: http://streetbush.com/ExampleofExtendedSerif.jpg

It DOESN'T have to be exact:

TypeTogether is proud to introduce Rue Display, an organic, casually ornamental, narrow-faced sans serif designed by Winnie Tan.

Rue's spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. It was conceived as a typeface, used as an image and discovered as an ornament.

It comes in 10 weights of light, regular, medium, semibold and bold, each with italics.

GET RUE DISPLAY NOW SPECIAL
INTRODUCTORY OFFER: 20% OFF - Use discount code 392fcfab

http://www.type-together.com/Rue%20Display

dimitre's picture

25% off *.*

d0mino's picture

Wet poster

Hello,

I have been working on a poster design, the type is purposefully abstract, but I would still like it to be legible to some degree.

Any thoughts or feedback would be appriciated.

Below I have attached the poster and some details.

http://operationeveryday.com/files/gimgs/206_wet3.jpg

http://operationeveryday.com/files/gimgs/206_wet4.jpg

http://operationeveryday.com/files/gimgs/206_wet5.jpg

I found this in a PDF. I am confused.

This J looks quite strange. Any ideas? It this fine?

Thanks!

Hi, I'm designing a branding for my school project for a Guy Ritchie film festival. He is the director of the movies like Snatch, RockNRolla, Lock Stock and Two Smoking Barrels, Revolver, Serlock Holmes. His movies are mostly about the lucky underground criminals of London. I would like to ask which typefaces are going to be appropriate for his style?

Hello Typophiles! It's been a while since I lurked these corridors, but I have a slight query at work and would like to ask your opinions if I may.

Been given a re-branding project at work, its nothing enormous, but it revolves around fashion and extreme sports. We are building a new website, product photography, the whole shebang.

To cut the long story short, the owners want the brand to be different, but not too different. The brand 'Typeface' being a horrid font by the name of 'Aggie'. Anyway. It has to go.

So I need rid of Aggie, and the replacement needs to resemble it in some fashion but drag it out of 2002. If that is at all possible.

Teja Ideja's picture

Typeout

TheMark's picture

Type for web?

Hey folks

I need to know which fonts would be good to use as a choice for an online typeface? Its for a corporate site!

Any suggestions?

Bree was chosen as main typeface for body and titles in Deco, an ethical and ecologically aware French interior magazine.

In most cases, the body text actually uses Bree's alternate characters to ensure best legibility.

It was designed by Ljubomir Djordjevic from the French design studio Commeunarbre.

http://www.type-together.com/index.php?action=portal/viewContent&cntId_c...

Here's some new work I completed this evening for a friend's wedding mark.

Möbius Strip WIki

Santa is late but he's finally here! The OpenType Basic version, full commercial licence, of Adelle Bold and Bold Italic can be downloaded free of charge at TypeTogether's website.

The award winning Adelle is a dynamic slab serif designed by Veronika Burian and José Scaglione. While it is conceived specifically for intensive editorial use, its personality and flexibility make it a real multiple-purpose typeface. The intermediate weights deliver a very legible and neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobstrusive appearance, excellent texture and slightly dark color allow it to behave flawlesly in continuous text setting, even in the most demanding editorial applications.

Santa is late but he's finally here! The OpenType Basic version, full commercial licence, of Adelle Bold and Bold Italic can be downloaded free of charge at TypeTogether's website.

The award winning Adelle is a dynamic slab serif designed by Veronika Burian and José Scaglione. While it is conceived specifically for intensive editorial use, its personality and flexibility make it a real multiple-purpose typeface. The intermediate weights deliver a very legible and neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobstrusive appearance, excellent texture and slightly dark color allow it to behave flawlesly in continuous text setting, even in the most demanding editorial applications.

Need to know what font is used for the "Studio Gaven" portion of the logo at the top of the page.

Thanks!!

TypeTogether is proud to announce the release of Etica, a strong yet delicate sans serif.

Etica, the-moralist-typefamily-project, was born at the end of 2000, but its development is ongoing, overcoming many hurdles and diversions. On one hand, the original idea was spurred by a certain esteem for Helvetica, in particular, its strength and versatility, and on the other, an intolerance to its plenty but inadequate applications; created by those who erroneously consider it to be a neutral and timeless design.

We believe that Helvetica is a beautiful typeface, but very deeply rooted in its own era. It is often unsuitably used in contexts that have changed profoundly since its birth. From this initial intention, we coined the ironic payoff ‘The-Moralist-Typeface’.

Hi,

I would like to show you a work I did using my Wacom tablet and Inkscape.
There was once a thread about calligraphy software and I am sure Inkscape is one of the best. It works different then CorelDraw and Illustrator but I think is more close to the traditional way except the strokes can be rearranged if necessary.

And a detail at actual size.

I would like to see your comments, critiques and advices so please feel free to post them.

A bigger version of it (1600 x 1200 px) can be downloaded from my site.

Thank you very much.
florinf

Designing information before designers
--------------------------------------
Monday 11 to Friday 29 January 2010
Exhibition of information design from the nineteenth century. Presented by Paul Stiff, Paul Dobraszczyk and Mike Esbester; talk on 14 January

Typeface
--------
Thursday 21 January 2010
UK movie premiere

Design 4 music/Music + design
-----------------------------
Friday 29 January 2010
Conference exploring this complex, passionate, sometimes obsessive relationship. Curated by Catherine Dixon and John L. Walters

Zainer's imperfect impressions
------------------------------
Tuesday 23 February 2010
Fifth annual Justin Howes memorial lecture, given by Claire Bolton

Book design in St. Gallen
-------------------------
Thursday 4 to Friday 19 March 2010

This is the wall calendar for the year 2010. It's made of two thousand and ten keyboard keys. This design offers a new visual experience of time, differently than your average wall calendar. It looks beautiful on the wall, and makes finding dates and marking events a creative process.

The size of the print is B0 (70cm x 100cm / 27.56” x 39.37”).

The printing is done with a standard 4c offset printing machine on 135g/m2 glossy paper, finished with a UV coating to protect the colors from bleaching. The UV coating also provides protection against water and dust.

Shipping:

Worldwide shipping (folded in a protected envelope) is included in the price of $20.10.

For $9.90 extra the wall calendar will be sent rolled in a reusable plastic tube.

What are your thoughts about tracing or redrawing fonts? I know it's unethical, and maybe ilegal some times, but what about when you don't have the budget to buy a font family, but would like to use it on your projects? And by tracing, I mean doing the curves from zero, using the font as a guide, then using the vector shapes to "set" the type.

It happened to me when I worked on a little shop where the projects had a very little budget. We focused on poster design, and surprisingly, each poster design costed about what a regular font costs. We loved Helvetica, but obviously didn't have the money to buy it, so one time we thought about drawing all the characteres and setting each one of them manually in our projects. We didn't, and instead, focused on using free or really cheap fonts...

Most of the type-designs we use nowadays have their origins in the thirties of the 20th century. But their real roots are much older. Since good examples of the earliest type are hard to get by, the Amsterdam chair for the History of the Book in cooperation with the Special Collections of the Amsterdam University has started a project that will make it possible for anyone anywhere to examine early typedesign in detail. Acces to this material is difficult: the books are kept in the Special Collections of university libraries and national libraries and most times it is forbidden to take pictures.

We have started to publish high resolution pictures of early type-specimen on: http://www.flickr.com/photos/bookhistorian/

Hi, I made this signature for a client and I’m having problems to solve the “ZZ” ligature. If anybody wants to recommend a solution, please, let me know.

I'm designing my first typeface, I was hoping to get some constructive criticism. I call it Pateo, I'm aiming for a staple sans-serif kind of design, something similar to Helvetica, Akzidenz Grotesk, Univers and the like. I know its a lot to live up to, but I plan on having many, many drafts. This is my lowercase.

Have at'er boys!


didot lamp—all four sides displayed

ABOUT THE COLLECTION.

illume is an elegant, modern collection of typography table lamps for anyone who enjoys lighting with class and personality. Each sleek, frosted white acrylic lamp celebrates a classic typeface while gracing a room with soft light and sophistication. Brighten your room with illume.

CURRENT EDITION 1 COLLECTION FOR PURCHASE:

Didot
Bodoni sold
Baskerville
Clarendon
Caslon sold
Garamond

*lamps are each $158 US dollars

WANT AN ILLUME LAMP?

And this guy has more type-related experiments:

http://www.c71123.com/slitscan/

[Sorry if this has been posted before]

==
Bert Vanderveen BNO

Founded by Slobodan Jelesijević and Dušan Jelesijević in May 2009 as an independent boutique font foundry that is the only one of it’s kind in Serbia, Tour de Force Font Foundry has produced high quality original typefaces that are in use globally.

From our glyph laboratory in a small town of Gornji Milanovac, Central Serbia, we have anchored our craftsmanship and reputation on providing the classic European standards of stellar personalised service with our clients across the world.

Syndicate content Syndicate content